À bout de souffle (1960)

Director:

Jean-Luc Godard

Writers:

Jean-Luc Godard (screenplay)
François Truffaut (story)

Release Date:

7 February 1961 (USA)

Genre:

Crime | Drama | Romance | Thriller

Tagline:

The film that was banned for 4 years. Why..? (original Finnish poster tagline)

Plot:

A young car thief kills a policeman and tries to persuade a girl to hide in Italy with him.

Plot Keywords:

Car | Policeman | Sociopath | Love | Journalism

Awards:

Nominated for BAFTA Film Award. Another 3 wins & 1 nomination

Cast

Jean-Paul Belmondo	...	Michel Poiccard
Jean Seberg	...	Patricia Franchini
Daniel Boulanger	...	Police Inspector Vital
Jean-Pierre Melville	...	Parvulesco
Henri-Jacques Huet	...	Antonio Berrutti
Van Doude	...	Himself
Claude Mansard	...	Claudius Mansard
Jean-Luc Godard	...	An Informer
Richard Balducci	...	Tolmatchoff
Roger Hanin	...	Cal Zombach
Jean-Louis Richard	...	A Journalist
rest of cast listed alphabetically:
Liliane David	...	Liliane
Jean Domarchi	...	A Drunk
Jean Douchet	...	A Journalist
Raymond Huntley	...	A Journalist
André S. Labarthe	...	A journalist
François Moreuil	...	A journalist
Liliane Robin	...	Minouche
José Bénazéraf	...	(uncredited)
Philippe de Broca	...	A Journalist (uncredited)
Michel Fabre	...	Plainclothes Policeman (uncredited)
Louiguy	...	(uncredited)
Michel Mourlet	...	(uncredited)
Guido Orlando	...	(uncredited)
Madame Paul	...	(uncredited)
Raymond Ravanbaz	...	(uncredited)
Jacques Serguine	...	(uncredited)
Jacques Siclier	...	(uncredited)
Virginie Ullmann	...	(uncredited)
Emile Villion	...	(uncredited)

Directed by
Jean-Luc Godard

Writing credits (in alphabetical order)
Jean-Luc Godard		screenplay
François Truffaut		story

Produced by
Georges de Beauregard	....	producer

Original Music by
Martial Solal

Cinematography by
Raoul Coutard

Film Editing by
Cécile Decugis
Lila Herman

Makeup Department
Phuong Maittret	....	makeup artist (uncredited)

Second Unit Director or Assistant Director
Pierre Rissient	....	assistant director

Art Department
Clément Hurel	....	poster artist

Sound Department
Jacques Maumont	....	sound

Camera and Electrical Department
Claude Beausoleil	....	camera operator

Editorial Department
Lila Herman	....	assistant editor

Other crew
Claude Chabrol	....	technical advisor
Suzon Faye	....	script supervisor (uncredited)

Production Companies

• Les Productions Georges de Beauregard
• Société Nouvelle de Cinématographie (SNC)

Distributors

• Les Films Impéria (1960) (France) (theatrical)
• Société Nouvelle de Cinématographie (SNC) (1960) (France) (theatrical)
• Société nouvelle de cinématographie (SNC) (1960) (Canada) (theatrical)
• Films Around the World (I) (1961) (USA) (theatrical) (subtitled)
• Asociace Ceských Filmových Klubu (ACFK) (2006) (Czech Republic) (theatrical)
• Films Georges de Beauregard (1961) (France) (theatrical)
• Neue Visionen Filmverleih (2001) (Germany) (theatrical) (re-release)
• Optimum Releasing (2000) (UK) (theatrical) (re-release)
• BBC Worldwide (1987) (UK) (TV)
• Connoisseur / Meridian Films (1989) (USA) (VHS) (subtitled)
• Connoisseur Video
• Criterion Collection, The (2007) (USA) (DVD)
• Criterion Collection, The (USA) (laserdisc)
• Fox Lorber (2001) (USA) (DVD) (subtitled)
• Fox Lorber (2001) (USA) (VHS) (subtitled)
• Janus Films (1989) (USA) (all media)
• Kinowelt Home Entertainment (2001) (Germany) (DVD)
• Nothing's New Video (2005) (USA) (VHS)
• Optimum Releasing (2000) (UK) (DVD) (re-release)
• Optimum Releasing (2001) (UK) (DVD) (special edition)
• Optimum Releasing (2007) (UK) (DVD) (box set)
• Polyband (1992) (Germany) (VHS)
• Raro Video (2005) (Italy) (DVD) (boxed set)
• Raro Video (2007) (Italy) (DVD)
• Timeless Video (1994) (USA) (VHS) (subtitled)
• Wellspring Media (2004) (USA) (DVD)

Also Known As:

Breathless (UK) (subtitle) (USA)
By a Tether (UK) (informal title)

Runtime:

90 min

Country:

France

Language:

French | English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Finland:K-12 (1996) | Finland:K-16 (1964) | Singapore:PG | South Korea:12 | Portugal:M/12 | Argentina:13 | Australia:PG | Chile:14 | Finland:(Banned) (1960) | Sweden:15 | UK:PG | USA:Unrated | West Germany:18 (bw) (nf) | Germany:16

Filming Locations:

11 rue Campagne Première, Paris 14, Paris, France

Company:

Les Productions Georges de Beauregard

Trivia:

The song playing when Michel goes to visit the first girl in Paris is "Pity Pity" by Paul Anka (released in 1959).

Quotes:

[first lines]
Michel Poiccard: After all, I'm an asshole. After all, yes, I've got to. I've got to!

Movie Connections:

Featured in 50 Films to See Before You Die (2006) (TV)

To those who "don't understand"

I don't blame those who state that they do not "understand" the superlatives surrounding Jean-Luc Godard's 1960 masterpiece, Breathless. It's primarily because to appreciate Breathless, one has to view the movie from a historical context, which also requires studying of not only the French New Wave, but film theories as a whole, and the lives of those apart of the New Wave. Breathless accomplished many things unprecedented prior (many completely unprecedented, but some things are not-so-much).

Roger Ebert put it best when he said that just as film fanatics may now stand outside a movie theatre waiting for the next Quentin Tarantino movie to be released, film enthusiasts were doing so for Godard in the 1960s. He was a revolutionary, which is why MovieMaker magazine called him the 4th most influential director of ALL-TIME (only behind Welles, Griffith, and Hitchcock)! What did Godard do different? Breathless is all style, simple as that. The story line is interesting, yes, but is Godard's aesthetics, production modes, subject matters, and storytelling methods that are key. First of all, the whole movie was shot on a hand-held camera, just like most all New Wave pictures. It was, however, only shot by two people (Godard and his cinematographer, Rouald) on a budget that did not top $50,000, a mere fraction of what most pictures cost at the time (another facet of the New Wave). It was shot completely on location in Paris, and utilized new film-making techniques that would be used by film-making students for decades to come (such as putting the camera in a mail cart on the Champs Elysees and following Belmondo and Seberg). Note Godard's use of American cinema influence, and how the montage art of the 1950s impacted this aesthetic.

(A brief New Wave lesson: Most New Wave directors were displeased with the "tradition of quality," or the older generation directors who, as Truffaut put it, made the "twelve or so" pictures per year that represented France at Venice and Cannes. Most of these pictures classic or modern literary adaptations, completely stagnant in artistic quality with rehashed subject matters based on historical periods. New Wave directors supported NEW tales of modern Parisian life, primarily, and were sick of the themes found in the tradition of quality films.) The storytelling methods in Breathless are perhaps the most fascinating part of the film. The jump cuts may seem lame, but one must again view them from a historical context: it had never been done before. This is exactly why Breathless is important -- practically every technique was revolutionary. They are so submerged into film-making practices now that Breathless seems typical. Yet at the time, it was, as I said prior, unprecedented.